2020年经济学人 钢琴巨匠莱昂·弗莱舍(2)（在线收听）

Such a career had possessed him from childhood, and his slightly crazy mother had also thought of nothing else, pushing him under the nose of every eminent musician she could find in San Francisco, Pierre Monteux, Alfred Hertz, even Sergei Rachmaninoff once, as the maestro came off stage. His path had long been set. Yet he felt he was only beginning to understand what music needed.

弗莱舍从小就开始了音乐生涯，他那有点疯癫的母亲也没有想过别的，一心把他引荐给旧金山所有有名的音乐家，皮埃尔·蒙度，艾尔弗雷德·赫兹，有一次甚至把他引荐给了刚从舞台走下来的拉赫玛尼诺夫。弗莱舍的人生道路早已确定，但他觉得自己才刚刚开始理解做音乐需要什么。

Ten years of training with Artur Schnabel had laid down firm principles of faithfulness to the score and integrity in the playing; watching Schnabel had taught him to treasure not only each note, but also the potency of silence. In his 20s he developed his own opinions, discovering French, Russian and 20th-century composers. But now he might, after all, be going nowhere. For 30 years his right hand was little use to him. He tried lidocaine injections, massage, psychotherapy, acupuncture, Tiger Balm.

他跟着阿图·施纳贝尔进行了十年的训练，后者为他制定了忠实乐谱和演奏完整的坚定原则；观看施纳贝尔的表演，他不仅学会了珍惜每一个音符，也学会了珍惜沉默的力量。20多岁时，他形成了自己的理念，发现了法国、俄罗斯和20世纪的作曲家。但现在，他可能哪里也不去了。30年来，他的右手对他没什么用处。他试过利多卡因注射、按摩、心理治疗、针灸和虎标万金油。

Quacks and gurus were called in. He let Bernstein pour Scotch on it. The condition had a name, focal dystonia, and a cause, over-practising, but there was no cure. At times the fingers loosened, but nothing helped for long. And since music was his life, taking priority over everything including, to his regret, his first two wives and their children, he had to keep making it somehow. Pieces like the Brahms lay not only in his fingers but in his mind and heart, and his purpose, paraphrasing Beethoven’s inscription in the “Missa Solemnis”, was to communicate their power to other hearts. He just had to find alternative means of doing so. One was teaching.

庸医和大师们接连被请来。他让伯恩斯坦往他的右手上面倒苏格兰威士忌。这种情况有一个名字，局部性肌张力障碍，原因是过度练习。但是无法治愈。有时他的手指会松开，但很长时间都无济于事。因为音乐就是他的生命，胜过其他的一切，令他遗憾的是，也包括他前两个妻子和他们的孩子，所以他得想法继续从事音乐工作。像勃拉姆斯这样的作品不仅在他的手指间，也在他的思想和心灵中，他解读贝多芬的题词“庄严的弥撒”，是为了将他们的力量传达给其他心灵。他只需要找到另一种方法。一个是教学。